2 % TITLE=The music notation with computer bibliography
3 % AUTHOR=Han-Wen Nienhuys
6 @String{CitH = {Computing and the Humanities}}
7 @String{CMJ = {Computer Music Journal}}
10 note = {Rules on formatting music formulated for use in computers. Mainly distilled from [Ross] HWN},
12 title = {Music Formatting Guidelines},
14 number = {OSU-CISRC-3/88-TR10},
15 institution = {Department of Computer and Information Science, The Ohio State University},
20 @InProceedings{assayaag86,
21 author = {G. Assayaag and D. Timis},
22 title = {A Toolbox for music notation},
23 booktitle = {Proceedings of the 1986 International Computer Music Conference},
30 title = {Music Notation by Computer},
31 author = {Donald Byrd},
32 school = {Indiana University},
37 title = {A System for Music Printing by Computer},
38 author = {Donald Byrd},
39 journal = {Computers and the Humanities},
45 author = {Donald Byrd},
46 title = {Music Notation Software and Intelligence},
47 journal = {Computer Music Journal},
53 note = {Byrd (author of Nightinggale) shows four problematic
54 fragments of notation, and rants about notation programs that try to
55 exhibit intelligent behaviour. HWN}
61 author = {R. F. Ericson},
62 title = {The DARMS Project: A status report},
63 journal = {Computing in the humanities},
69 note = {Gourlay\cite{gourlay86} writes: A discussion of the design
70 and potential uses of the DARMS music-description language.}
74 @Article{field-richards93,
75 author = {H.S. Field-Richards},
76 title = {Cadenza: A Music Description Language},
82 note = {A description through examples of a music entry language.
83 Apparently it has no formal semantics. There is also no
84 implementation of notation convertor. HWN}
90 author = {Herbert Bielawa},
91 title = {Review of Sibelius 7},
95 note = {A raving review/tutorial of Sibelius 7 for Acorn. (And did
96 they seriously program a RISC chip in ... assembler ?!) HWN}
102 author = {Donald Sloan},
103 title = {Aspects of Music Representation in HyTime/SMDL},
109 note = {An introduction into HyTime and its score description variant
110 SMDL. With a short example that is quite lengthy in SMDL}
114 author = {Geraint Wiggins and Eduardo Miranda and Alaaaan Smaill and Mitch Harris},
115 title = {A Framework for the evaluation of music representation systems},
121 note = {A categorisation of music representation systems (languages,
122 OO systems etc) splitted into high level and low level expressiveness.
123 The discussion of Charm and parallel processing for music
124 representation is rather vague. HWN}
130 @Article{dannenberg93,
131 author = {Roger B. Dannenberg},
132 title = {Music Representation: Issues, Techniques, and Systems},
138 note = {The title says it all. This article does not make any
139 statements, it points to some problems and solutions with music
140 representation. HWN},
144 @Article{rothstein93,
145 author = {Joseph Rothstein},
146 title = {Review of Passport Designs' Encore Music Notation Software},
150 note = {A no-science-here review of Encore. HWN}
157 author = {Alan Belkin},
158 title = {Macintosh Notation Software: Present and Future},
164 note = {Some music notation systems are analysed for ease of use, MIDI
165 handling. No rocket science here. The article ends with a plea for a
166 standard notation format. HWN},
172 title = {Editing and Printing Music by Computer},
173 author = {Leland Smith},
174 totalentry = {Journal of Music Theory},
177 note = {Gourlay\cite{gourlay86} writes: A discussion of Smith's music-printing system}
181 @InProceedings{montel97,
182 author = {Dominique Montel},
183 title = {La gravure de la musique, lisibilit\'e esth\'etique, respect de l'oevre},
184 booktitle = {Musique \& Notations},
187 editors ={Genevois \& Orlarey}
192 @PhdThesis {gomber75,
194 title = {A Computer-Oriented System for Music Printing},
195 author = {David A Gomberg},
196 school = {Washington University},
200 title = {A Computer-oriented System for Music Printing},
201 author = {David A. Gomberg},
207 note = {Gourlay \cite{gourlay86} writes: "A discussion of the
208 problems of representing the conventions of musical notation in
209 computer algorithms."}
216 note = {Annual editions since 1985, many containing surveys of music typesetting technology. SP},
217 title = {Directory of Computer Assisted Research in Musicology},
218 author = {Walter B Hewlett and Eleanor Selfridge-Field},
219 totalentry = {Menlo Park, CA: Center for Computer Assisted Research in the Humanities},
226 note = {A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures somewhat) HWN},
228 title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor},
229 author = {Lippold Haken and Dorothea Blostein},
230 journal = {Computer Music Journal},
236 @InProceedings{haken95,
238 title = {A New Algorithm for Horizontal Spacing of Printed Music},
239 author = {Lippold Haken and Dorothea Blostein},
240 booktitle = {International Computer Music Conference},
244 note = {This describes an algorithm which uses springs between adjacent columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN},
247 @Article {blostein91,
248 note = {This paper provides a shallow overview of the algorithm used in LIME for spacing individual lines. HWN},
250 title = {Justification of Printed Music},
251 author = {Dorothea Blostein and Lippold Haken},
252 journal = {Communications of the ACM},
261 author = {Dorothea Blostein and Lippold Haken},
262 title = {The Lime Music Editor: A Diagram Editor Involving Complex
264 journal = {Software Practice and Experience},
270 note = {A description of various conversions,
271 decisions and issues relating to this interactive editor HWN},
274 @InProceedings{bouzaiene98:_une,
275 author = {Nabil Bouzaiene and Lo\"ic Le Gall and Emmanuel Saint-James},
276 title = {Une biblioth\`eque pour la notation musicale baroque},
277 booktitle = {EP '98},
281 note = {Describes ATYS, an extension to Berlioz, that can mimick
282 handwritten baroque style beams}
287 @MastersThesis{gall97:_creat,
288 author = {Lo\"ic Le Gall},
289 title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque},
290 school = {\'Ecole Estienne},
294 @InProceedings{balaban88,
295 author = {M. Balaban},
296 title = {A Music Workstation Based on Multiple Hierarchical Views of Music},
297 booktitle = {Proceedings of the 1988 International Computer Music Conference},
299 address = {San Francisco},
300 organization = {International Computer Music Association}
306 @TechReport {gourlay87-spacing,
307 note = {Algorithm for generating spacing in one line of (polyphonic) music, tailored for use with MusiCopy. LilyPond uses a variant of it (as of pl 76) HWN},
309 title = {Spacing a Line of Music,},
310 author = {John S. Gourlay},
311 number = {OSU-CISRC-10/87-TR35},
312 institution ={Department of Computer and Information Science, The Ohio State University},
316 @TechReport {parish87,
317 note = {A brief overview of {MusiCopy} HWN},
319 title = {{MusiCopy}: An automated Music Formatting System},
320 author = {Allen Parish and Wael A. Hegazy and John S. Gourlay and Dean K. Roush and F. Javier Sola},
321 totalentry = {OSU-CISRC-10/87-TR29},
322 institution ={Department of Computer and Information Science, The Ohio State University},
326 @TechReport {gourlay87-formatting,
327 note = {This paper discusses the development of algorithms for the
328 formatting of musical scores (from abstract). It also appeared at
329 PROTEXT III, Ireland 1986},
331 title = {Computer Formatting of Music},
332 author = {John S. Gourlay and A. Parrish
333 and D. Roush and F. Sola and Y. Tien},
334 number = {OSU-CISRC-2/87-TR3},
335 institution ={Department of Computer and Information Science,
336 The Ohio State University},
340 @TechReport {hegazy87,
342 title = {On the Implementation of the {MusiCopy} Language Processor,},
343 author = {Wael A. Hegazy},
344 number = {OSU-CISRC-10/87-TR34},
345 institution={Department of Computer and Information Science, The Ohio State University},
347 note = {Describes the "parser" which converts {MusiCopy} MDL to
348 MusiCopy Simultaneities and columns.
350 MDL is short for Music Description Language\cite{gourlay86}. It
351 accepts music descriptions that are organised into measures filled
352 with voices, those filled notes. The measures can be arranged
353 simultaneously or sequentially. To address the 2-dimensionality,
354 almost all constructs in MDL must be labeled.
356 MDL uses begin/end markers for attribute values and spanners.
357 Rightfully the author concludes that MusiCopy must administrate a
358 "state" variable containing both properties and current spanning symbols.
360 MusiCopy attaches graphic information to the objects constructed in
361 the input: the elements of the input are partially complete graphic
364 Since the design goals of both LilyPond and MusiCopy were roughly the
365 same, both systems have superficial similarities: the details of the
366 input format, the notation of "musical state". However, LilyPond
367 stresses extensibility, modularity and separation between content and
368 presentation much more, and this shows: LilyPond is more flexible. To
369 be fair: development of MusiCopy was abandoned in 1987, so it is not
370 surprising that LilyPond is more mature.
376 @TechReport {hegazy87-breaking,
377 note = {This generalizes \TeX's breaking algorithm to music. It also appeared in Document Manipulation and Typography, J.C. van Vliet (ed) 1988. HWN},
379 title = {Optimal line breaking in music},
380 author = {Wael A. Hegazy and John S. Gourlay},
381 number = {OSU-CISRC-8/87-TR33},
382 institution={Department of Computer and Information Science, The Ohio State University,},
386 @TechReport {roush87,
387 note = {User manual of MusiCopy. Includes an impressive example piece. HWN},
389 title = {Using {MusiCopy}},
390 author = {Dean K. Roush},
391 number = {OSU-CISRC-18/87-TR31},
392 institution={Department of Computer and Information Science, The Ohio State University},
396 @TechReport {parrish87-simultaneities,
397 note = {Placement of balls, stems, dots which occur at the same moment ("Simultaneity") HWN},
399 title = {Computer Formatting of Musical Simultaneities,},
400 author = {A. Parrish and John S. Gourlay},
401 institution={Department of Computer and Information Science, The Ohio State University},
402 number = {OSU-CISRC-10/87-TR28},
407 note = {Overview of a procedure for generating slurs HWN},
409 title = {Computer Design of Musical Slurs, Ties and Phrase Marks,},
411 institution={Department of Computer and Information Science, The Ohio State University},
412 number = {OSU-CISRC-10/87-TR32},
416 @TechReport {sola87-beams,
417 institution={Department of Computer and Information Science, The Ohio State University},
418 note = {Calculating beam slopes HWN},
420 title = {Design of Musical Beams,},
421 author = {F. Sola and D. Roush},
422 number = {OSU-CISRC-10/87-TR30},
427 note = {This paper describes the {MusiCopy} musicsetting system and an input language to go with it. HWN},
429 title = {A language for music printing},
430 author = {John. S. Gourlay},
431 journal = {Communications of the ACM},
440 note = {Describes a system called MusicEase, and explains that it uses "constraints" (which go unexplained) to automatically position various elements. HWN},
442 title = {Creating Printed Music Automatically},
443 author = {Gary M. Rader},
444 journal = {Computer},
455 note = {Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the British Library, instead. SP},
457 title = {Computer Tools for Music Information Retrieval},
458 author = {Stephen Dowland Page},
459 school ={Dissertation University of Oxford},
462 @MastersThesis{roelofs91,
463 note = {This dutch thesis describes a simplistic (monophonic) typesetting system, and focuses on the breaking algorithm, which is taken from Hegazy & Gourlay HWN},
465 title = {Een Geautomatiseerd Systeem voor het Afdrukken van Muziek},
466 author = {Ren\'e Roelofs},
467 school={Erasmus Universiteit Rotterdam},
469 translation = {``An automated system for printing music'' Master's Thesis Managerial Computer Science.},
473 @Article {filgueiras93,
475 title = {Representation and manipulation of music documents in SceX},
476 author = {Miguel Filgueiras and Jos\'e Paulo Leal},
477 journal= {Electronic Publishing},
479 number={4}, pages = {507--518},
485 note = {A paper on a TROFF preprocessor to typeset music. The output shown is not very sophisticated, and contains some typographical atrocities HWN},
487 title = {Music --- A language for typesetting music scores},
488 author = {Eric Foxley},
489 journal = {Software --- Practice and Experience},
498 title = {Implementing a Symbolic Music Processing System},
499 author = {Miguel Filgueiras},
500 totalentry = {LIACC, Universidade do Porto, 1996; submitted},
504 title = {Some Music Typesetting Algorithms},
505 author = {Miguel Filgueiras},
506 totalentry = {Miguel Filgueiras. ``Some Music Typesetting Algorithms''. LIACC, Universidade do Porto, forthcoming},
510 @Article {colorado-web,
511 author ={Alyssa Lamb},
512 note = {Webpages about engraving (designed with finale users in mind) (sic) HWN},
513 institution = {The University of Colorado},
514 title ={The University of Colorado Music Engraving page.},
515 HTML={http://obenamots.cc.colorado.edu/Musicpress/engraving.html},
522 @Article {Langston90,
523 note = {This paper deals with some command-line
524 tools for music editing and playback. It doesn't mention notation
525 issues, but does come with the grand idea (not) of using music to
526 monitor complex systems. Imagine your nuclear plant supervisor to
527 use AC/DC for checking the reactor HWN},
530 title = {Unix music tools at Bellcore},
531 author = {Peter S. Langston},
532 journal={Software --- Practice and Experience},
540 @Article {tablature-web,
541 note = {FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN},
542 title = {how to read and write tab: a guide to tab notation},
543 author = {Howard Wright},
544 email={Howard.Wright@ed.ac.uk},
545 HTML={http://wabakimi.carleton.ca/~phacket2/guitar/tabfaq.html},
550 note = {Specs for NIFF, a reasonably comprehensive but binary (yuk) format for notation HWN},
553 title = {NIFF6a Notation Interchange File Format},
554 author = {Cindy Grande},
555 publisher={Grande Software Inc.},
556 HTML= {http://www.jtauber.com/music/encoding/niff/},
557 ftp = {ftp://blackbox.cartah.washington.edu}
563 title = {SMDL, Standard Musical Description Language},
564 pdf= {ftp://ftp.ornl.gov/pub/sgml/wg8/smdl/10743.pdf},
565 note={ISO/IEC DIS 10743
567 SGML instance for describing music. Very comprehensive in music
568 definition, but no support for notation / performance whatsoever (They
569 basically say: "You can embed a NIFF or MIDI file") HWN}
574 @TechReport{Ornstein83,
575 author={Ornstein, Severo M. and John Turner Maxwell III},
576 title={Mockingbird: A Composer's Amanuensis},
577 institution={Xerox Palo Alto Research Center},
578 address={3333 Coyote Hill Road, Palo Alto, CA, 94304},
587 author={Ornstein, Severo M. and John Turner Maxwell III},
588 title={Mockingbird: A Composer's Amanuensis},
593 note={A discussion of an interactive and graphical computer system for
598 @PhdThesis{mueller90:_inter_bearb_musik,
599 author = {Giovanni M\"uller},
600 title = {Interaktive Bearbeitung konventioneller Musiknotation},
601 school = {Eidgen\"ossischen Technischen Hochschule Z\"urich},
604 note = {This is about engraver-quality typesetting with computers. It
605 accepts the axiom that notation is too difficult to generate
606 automatically. The result is that a notation program should be a
607 WYSIWYG editor that allows one to tweak everything.
609 The implementation therefore is quite "weak". The introductory
610 chapters on engraving and notation are well structured and clear,
616 % three part study by John Gr/over
617 @TechReport{grover89-symbols,
618 author = {John Gr\/over},
619 title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory},
620 institution = {Department of informatics, University of Oslo},
624 note = {The goal of this series of reports is a full description of
625 music formatting. As these largely depend on parameters of fonts, it
626 starts with a verbose description of music symbols.
628 The subject is treated backwards: from general rules of typesetting
629 the author tries to extract dimensions for characters, whereas the
630 rules of typesetting (in a particular font) follow from the dimensions
631 of the symbols. His symbols do not match (the stringent) constraints
632 formulated by eg. \cite{wanske}} }
634 @TechReport{grover89-twovoices,
635 author = {John Gr\/over},
636 title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning},
638 institution = {Department of informatics, University of Oslo},
642 note = {A lot rules for what is in the title are formulated. The
643 descriptions are long and verbose. The verbosity shows that
644 formulating specific rules is not the proper way to approach the
645 problem. Instead, the formulated rules should follow from more
646 general rules, similar to\cite{parrish87-simultaneities}},
649 @TechReport{grover89-accidentals,
650 author = {John Gr\/over},
651 title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning},
652 institution = {Department of informatics, University of Oslo},
656 note = {Placement of accidentals crystallised in an enormous set of
657 rules. Same remarks as for \cite{grover89-twovoices} applies} }